For
the rest of her life, Charlotte Cleve would blame herself for her son's
death because she had decided to have the Mother's Day dinner at six in
the evening instead of noon, after church, which is when the Cleves usually
had it. Dissatisfaction had been expressed by the elder Cleves at the
new arrangement; and while this mainly had to do with suspicion of innovation,
on principle, Charlotte felt that she should have paid attention to the
undercurrent of grumbling, that it had been a slight but ominous warning
of what was to come; a warning which, though obscure even in hindsight,
was perhaps as good as any we can ever hope to receive in this life.

Though the Cleves loved to recount among themselves even the minor events
of their family history-repeating word for word, with stylized narrative
and rhetorical interruptions, entire death-bed scenes, or marriage proposals
that had occurred a hundred years before-the events of this terrible Mother's
Day were never discussed. They were not discussed even in covert groups
of two, brought together by a long car trip or by insomnia in a late-night
kitchen; and this was unusual, because these family discussions were how
the Cleves made sense of the world. Even the cruelest and most random
disasters-the death, by fire, of one of Charlotte's infant cousins; the
hunting accident in which Charlotte's uncle had died while she was still
in grammar school-were constantly rehearsed among them, her grandmother's
gentle voice and her mother's stern one merging harmoniously with her
grandfather's baritone and the babble of her aunts, and certain ornamental
bits, improvised by daring soloists, eagerly seized upon and elaborated
by the chorus, until finally, by group effort, they arrived together at
a single song; a song which was then memorized, and sung by the entire
company again and again, which slowly eroded memory and came to take the
place of truth: the angry fireman, failing in his efforts to resuscitate
the tiny body, transmuted sweetly into a weeping one; the moping bird
dog, puzzled for several weeks by her master's death, recast as the grief-stricken
Queenie of family legend, who searched relentlessly for her beloved throughout
the house and howled, inconsolable, in her pen all night; who barked in
joyous welcome whenever the dear ghost approached in the yard, a ghost
that only she could perceive. "Dogs can see things that we can't," Charlotte's
aunt Tat always intoned, on cue, at the proper moment in the story. She
was something of a mystic and the ghost was her innovation.

But
Robin: their dear little Robs. More than ten years later, his death remained
an agony; there was no glossing any detail; its horror was not subject
to repair or permutation by any of the narrative devices that the Cleves
knew. And-since this willful amnesia had kept Robin's death from being
translated into that sweet old family vernacular which smoothed even the
bitterest mysteries into comfortable, comprehensible form-the memory of
that day's events had a chaotic, fragmented quality, bright mirror-shards
of nightmare which flared at the smell of wisteria, the creaking of a
clothes-line, a certain stormy cast of spring light.

Excerpted from The Little Friend by Donna TarttCopyright
2002 by Donna Tartt. Excerpted by permission of Knopf, a division of Random
House, Inc. All rights reserved. No part of this excerpt may be reproduced
or reprinted without permission in writing from the publisher.

The hugely
anticipated new novel by the author of The Secret Historya
best-seller nationwide and around the world, and one of the most astonishing
debuts in recent timesThe Little Friend is even more transfixing
and resonant.

In a small
Mississippi town, Harriet Cleve Dusfresnes grows up in the shadow of her
brother, whowhen she was only a babywas found hanging dead
from a black-tupelo tree in their yard. His killer was never identified,
nor has his family, in the years since, recovered from the tragedy.

For Harriet,
who has grown up largely unsupervised, in a world of her own imagination,
her brother is a link to a glorious past she has only heard stories about
or glimpsed in photograph albums. Fiercely determined, precocious far
beyond her twelve years, and steeped in the adventurous literature of
Stevenson, Kipling, and Conan Doyle, she resolves, one summer, to solve
the murder and exact her revenge. Harriets sole ally in this quest,
her friend Hely, is devoted to her, but what they soon encounter has nothing
to do with childs play: it is dark, adult, and all too menacing.

A revelation
of familial longing and sorrow, The Little Friend explores crime
and punishment, as well as the hidden complications and consequences that
hinder the pursuit of truth and justice. A novel of breathtaking ambition
and power, it is rich in moral paradox, insights into human frailty, and
storytelling brilliance.

"This
extraordinary book [has] a main character, a twelve-year-old girl named
Harriet Cleve Dufresnes, who ranks up there with Huck Finn, Miss Havisham,
Quentin Compson, and Philip Marlowe, fictional characters who don't seem
in the least fictional . . . If To Kill a Mockingbird is the childhood
that everyone wanted and no one really had, The Little Friend is
childhood as it is, by turns enchanting and terrifying."
--Malcolm Jones, Newsweek

"Readers
are easily swept up in [a] darkly comic novel that . . . broadens to examine
Southern racial and social strata, religious and generational eccentricities,
and the passion of youth that gives way to the ambivalence of age. At
times humorous, at times heartbreaking, The Little Friend is most
surprising when it is edge-of-your-seat scary." --Dennis Moore, USA
Today

"A sprawling
story of vengeance, told in a rich, controlled voice . . . Tartt has written
a grownup book that captures the dark, Lord of the Flies side of childhood
and classic children's literature."
--James Poniewozik, Time

Donna
Tarttwas
born in 1963 in Greenwood, Mississippi.
Tartt cultivated her love of literature at a very young age. After high
school she entered the University of Mississippi in Oxford, then transferred
to Bennigton College in Vermont, where she began her first novel, The
Secret History. Her first novel was published when she was 28 years
old and turned out to be a huge hit. Her fans waited ten years for this
second novel.